Browsing Creative Encounters (ICM/IKL) by Year Published
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Bille, Trine (København, 2007)[More information][Less information]
Abstract: Det er helt centralt i Richards Floridas teori om vækst, at kunne tiltrække den kreative klasse, men hvad er det egentlig som tiltrækker den kreative klasse? Formålet med denne artikel er at undersøge hvad det er for kultur- og fritidsaktiviteter den kreative klasse især benytter sig af. Det er dels interessant fra et kulturpolitisk og ikke mindst et regionalt udviklingspolitisk ståsted: hvad er det for kultur- og fritidsaktiviteter den kreative klasse bruger og tiltrækkes af? Dels er det interessant at undersøge, fordi det er punkt, hvor Florida ikke er særlig nuanceret. Den danske kulturvaneundersøgelse indeholder detaljerede data om den danske befolknings brug af de fleste kultur- og fritidstilbud. Ved at koble disse data med data for befolkningens arbejdsstilling opdelt på Richard Floridas klassificering, kan der opnås en helt ny viden om, hvad det er for kultur- og fritidstilbud den kreative klasse benytter, og dermed – må man antage – tiltrækkes af. Resultaterne, som er baseret på multivariate regressionsanalyser, viser nogle markante tendenser. Den kreative klasse er generelt mere aktive end serviceklassen på en række af de mere ”populære” og ”brede” kulturområder. Den kreative kerne adskiller sig for derimod ved at være mere kreative i deres fritid end andre. Herudover er de bl.a. mere interesseret i litteratur og viden, kulturarv og historie samt klassiske kulturformer som klassisk musik og teater. Endelig viser analysen, at der er en række kultur- og fritidsaktiviteter, hvor den kreative klasse ikke synes at adskille sig fra andre grupper. Det gælder først og fremmest en række hverdagskulturelle hjemlige aktiviteter, nogle ”brede” kulturaktiviteter samt mere oplevelsesorienterede familieaktiviteter. URI: http://hdl.handle.net/10398/7203 Files in this item: 1
wp04-2007_Final.pdf (2.207Mb) -
Ooi, Can-Seng (København, 2007)[More information][Less information]
Abstract: Tourism is entwined in economics, politics, culture, and social life. Despite Denmark’s attempt to re-brand itself as a modern, trendy and vibrant destination, the Danish tourism authorities is still selling the country’s historical sights and Hans Christian Andersen fairy tales to attract a growing number of Chinese tourists. While tourism authorities want to please the Chinese, other Danish authorities are concerned with overstaying tourists who may end up as illegal immigrants. On the Chinese side, the Chinese government is concerned with the image of China and its travelling citizens; they are trying to socially engineer the Chinese into better behaved tourists. The growing China outbound tourism market offers avenues for researchers to re-evaluate some aspects of tourism studies. Earlier studies have concentrated on the domination of tourist-receiving Third World countries by tourist-supplying First World countries. Other studies have focused on tourism impacts on host societies, ignoring how tourists themselves are being socialized and managed. This article, in the case of China, shows that a class of tourists from the developing world is capable of shaping destinations but they themselves are being shaped for the global tourism market. branding Denmark, place branding, tourism impact, tourism strategy, tourism politics URI: http://hdl.handle.net/10398/6577 Files in this item: 1
wp5-2007.pdf (207.7Kb) -
Anthropology, Fieldwork and Organizational EthnographyMoeran, Brian (København, 2007)[More information][Less information]
Abstract: This paper looks at the relationship between anthropology, fieldwork and what is referred to as ‘organizational ethnography’. It starts by distinguishing between fieldwork, which is a method of conducting qualitative research, initially in the discipline of anthropology, and ethnography, which is the writing up of that research. The paper makes use of the author’s fieldwork experiences in a Japanese advertising agency to illustrate a number of features that define fieldwork as a methodology. It argues that it is the shift from participant observation to observant participation that enables the fieldworker to move from front stage to back stage in the study of an organization, and thereby to gain information and knowledge that is otherwise available only to insiders. Fieldwork, Anthropology, Organizational Ethnography, Observant Participation URI: http://hdl.handle.net/10398/7038 Files in this item: 1
wp 2007-2.pdf (264.9Kb) -
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Abstract: This paper focuses on a hitherto unremarked aspect of cultural production – smell. It first outlines the historical background of Japanese scent culture, before moving on to describe in detail the processes by which incense is produced in Japan, and the various challenges facing a manufacturer with regard to consistency of raw materials, kneading blended materials, and drying formed incense sticks. It then concentrates on a group of incense manufacturers located on the western coast of Awaji Island in the Inland Sea of Japan, and suggests that it is access to, and successful management of, olfactory knowledge that enables a sub-contracted supplier to become independent by producing his own incense brands. The paper concludes by drawing a series of parallels betweenthe symbolic and social uses of incense in contemporary Japanese society, and thus underscores the connection between olfaction and transition noted for many other societies. URI: http://hdl.handle.net/10398/6945 Files in this item: 1
wp 2007-1.pdf (299.4Kb) -
Content, Cost, Chance, and CollectionLorenzen, Mark (København, 2007)[More information][Less information]
Abstract: This Working Paper argues that the film industry is a paradigmatic example of how the organization of the cultural economy is shaped by balancing creativity with contextual issues. In the film industry, organization is far from determined only by creative concerns for content production: Issues of cost, chance and collection also play important roles. Through analyzing creativity and its context in the film industry, the paper explains the industry’s organization, and opens up for understanding its significant national and regional differences. The paper carries out a literature study of economic, socioeconomic and economic geography literature on the film industry, analyzing the importance of creativity, cost, chance and collection in the film industry, and exemplifies how these issues are balanced differently in different clusters. The analytical framework presented in the paper may be used to understanding different "models” of filmmaking. Creativity, film industry, organization, innovation, transaction costs URI: http://hdl.handle.net/10398/7244 Files in this item: 1
wp03-2007.pdf (289.7Kb) -
Some descriptive results from DenmarkBille, Trine (, 2008)[More information][Less information]
Abstract: The purpose of this paper is to analyze the labor market for artists and in the creative industries more broadly: How important is a formal education for jobs in the creative industries? How are the careers of people with a creative education? Do they work in the creative industries or outside the creative industries? How is the profile of the jobs within the creative industries? Alper and Wassall (2006) present an overview of the economic, mainly empirical research concerning the labor market of artists. Different types of studies can be distinguished: theoretical models of artistic career processes, qualitative interviews and data, retrospective surveys and panel data based on surveys (either true panel studies or quasi panel studies). Some of the most extended studies on artists’ earnings are done by Alper and Wassall on American census data, where data comes from peoples selfreporting in surveys, and peoples’ occupation is based on time spent at work during a single reference week. This do obvious have some drawbacks. Register data from Statistics Denmark representing true panel data, makes it possible to overcome some of these problems and gain new knowledge on the career patterns of artists, their income, the importance of education, multiple jobholding etc. The register data used in this paper includes a lot of variables on socio-economy, income, employment etc. for the Danish population in the period 1994-2003. The paper includes a discussion and delimitation of artist and the creative industries, and presents new empirical results on the labor market for artists and in the creative industries URI: http://hdl.handle.net/10398/7750 Files in this item: 1
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Csaba, Fabian Faurholt (, 2008)[More information][Less information]
Abstract: This study first addresses some of the key definitional, conceptual and moral issues arising in the analysis of luxury. It points to the challenges of even defining luxury, and instead adopts and extends a flexible scheme for conceptualizing luxury. This provides a framework for investigation the consumption and management of luxury today. We then examine contemporary luxury through different perspectives on “new luxury” and the related issue of the rise of Asia as the world’s primary market for luxury. While the paper does aim to give a sense of the characteristics of the present-day luxury scene, the central focus of the study is on discourses on luxury. We consider to what extent and in which ways luxury is being redefined – by “new luxury” and Asia’s ascent. Finally the paper suggest themes and pointers for further research. URI: http://hdl.handle.net/10398/7765 Files in this item: 1
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Skov, Lise; Melchior, Marie Riegels (, 2008)[More information][Less information]
Abstract: Dress and fashion are rich and varied fields of study. Some scholars refer to them as ‘hybrid subjects’ because they bring together different conceptual frameworks and disciplinary approaches, including those from anthropology, art history, cultural studies, design studies, economics, history, literature, semiotics, sociology, visual culture and business studies. Invariably, such a pervasive phenomenon as dress has always been the subject of much commentary. Since the late 19th century, there has been no scarcity of research, but studies have been somewhat sporadic and tended to stay within these bounds of their own disciplines. From the 1960s to the 1990s, the leading educational institutions with words like dress and fashion in their titles, were, firstly, design schools and technical training institutions, servicing the industry, and secondly, institutes devoted to the study of dress history, directed as museums. It was only in the last decades of the 20th century that various approaches were integrated across disciplines and institutions so that it became possible to talk about something like ‘fashion studies’, reflected by the emergence of research centres, academic journals and graduate programmes with such heading. However, both the term, and what it is perceived to represent, is contested; while some scholars and institutions endorse ‘fashion studies’, others reject it or distance themselves from it. URI: http://hdl.handle.net/10398/7766 Files in this item: 1
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Skjold, Else (, 2008)[More information][Less information]
Abstract: Music and dress have played a significant role in the civilization process in West Europe. Both being aesthetic fields meant to be performed and put into play by human gesture, they have proved to be efficient tools for cultivating the movements, postures and gestures of the body. The material, cut and shape of the dress has manipulated the body to move in certain ways, as have rhythms and expressions in music. Significant for West Europe has been a duality between spirit and body, causing a division between high culture and popular culture, that has been reflected in the way music and dress has been used as display of ‘civilization’ from the early Middle ages to the Nineteenth century, and the way fashion and pop music subsequently has been perceived as ephemeral, irrational or even immoral. Following the democratization process, music and dress from early to late modernity has formed a unique liaison in youth culture, with the notion of image as a unifying concept. Here dress, gesture and pattern of movement emphasizes the underlying bodily gestures indicated by the sounds and rhythms in various music styles, and in this way encapsulates the identity of the individual participating in the manyfragmented taste groupings in society. In the same sense, dress and music have worked as a gate-opener to society for ethnic European outsiders like gays or working class, or non-Western immigrants, that could define their position in society through expressing themselves in hybrid subcultures. URI: http://hdl.handle.net/10398/7768 Files in this item: 1
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Melchior, Marie Riegels (, 2008)[More information][Less information]
Abstract: In terms of dress and fashion Denmark is an example of a West European peripheral country within the international fashion system. Since the Middle Ages, new fashions have found their way to Denmark through the internationally oriented royal family, the purchases of well-traveled citizens, various international and national fashion reports, and the international purchases by local retailers. With varying speed new cuts, colors and styles have impressed themselves upon both the everyday and festive fashions of the Danish wardrobe. The same foreign influence applies to local fashion production. Design, craftsmanship and technology has through time been shaped under influences from abroad. But these international influences have not undermined the recurring idea of a particular Danish dress and fashion culture. In the middle of the 19th century the prevailing view was that the peasants’ festive dress represented specific national dress. By the beginning of the 21st century discussions in the Danish fashion industry and industry policy concern Denmark’s status as a fashion nation and Copenhagen as a possible new global fashion center. This is due to the growing Danish fashion culture, the textile and clothing industry’s export success, and not least the fact that Denmark is a world-leading fur exporter. URI: http://hdl.handle.net/10398/7769 Files in this item: 1
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Skov, Lise (, 2008)[More information][Less information]
Abstract: The question of ethics is about determining concepts of right and wrong human action. There are a number of ethical controversies in relation to the industries that dress the visible self, especially clothing, shoes, accessories and skincare industries. The most important are, firstly, representations of idealized gender and body images, secondly, fakes and counterfeits of branded goods, thirdly, working conditions, fourthly, environmental impact and sustainability, and fifthly, animal rights. In a strict philosophical sense, these issues cannot be said to be purely moral because they overlap with political, social, legal, economic and environmental concerns. But they are problems that have been cast in terms of right and wrong behaviour from the point of view of West European industries and consumers. Because both consumption and production of dress are highly globalized these debates in West Europe are not qualitatively different from those of other highly developed regions. Many ethical problems, campaigns and monitoring issues are distinctly transnational because both consumer markets and production systems are highly globalized. It is a paradox that while many consumers have a positive involvement with clothing in terms of emotional attachment and identification, they also tend to have a distinctively negative image of the industry behind. In fact, there is a widespread cynicism about the fashion industry. URI: http://hdl.handle.net/10398/7770 Files in this item: 1
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Hilger, Jan (, 2008)[More information][Less information]
Abstract: The Apparel Industry was one of the first globally operating industries. Already in the early 1970ies did European fashion companies extend their manufacturing workbenches into lower cost neighbouring countries, making it one of the first industries to have a globally distributed network. In the first decade of the 21st century, the conditions for clothes manufacturing has changed considerably. The Sourcing Share of Asia increased dramatically especially since Chinas participation in the WTO in 2005 which led to the abolition of quotas. India, Vietnam, Bangladesh, Malaysia and the Philippines also play a major role in the Asian Textile and Garment Market. But even so, West Europe, the Mediterranean Rim and the East European Countries still play an important role on the global textile and apparel market, maybe no longer from the volume perspective but in terms of variety, complexity and product quality, particularly for the more demanding markets. Latin America has seen a significant decline over the last decade but is developing similar strategies like Europe to compete through quality and specialty niche rather than volume. Does this mean that the West European Apparel Industry is dead? The European Textile and Garment industry has undergone a severe decline since 1970 which nearly made it extinct in some of the EU founding economies. The labour intensive manufacturing segment which is almost not existent in Western Europe today particularly suffered. The only uncritical area where specifically one country in Western Europe is still defending its share, possibly due to changed sourcing practices and a recently increased presence on the global marketplace is the textile sector in Italy, which has even seen a rise in both volumes and employees over the last decade. URI: http://hdl.handle.net/10398/7771 Files in this item: 1
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Moeran, Brian (, 2008)[More information][Less information]
Abstract: Fragrance and perfume connect with our most basic and primitive window on the world – our sense of smell. Animals use their sense of smell to find food, sense danger and mate. So, too, do human beings. Mothers and their babies bond through smell. Smell triggers memories buried long in our unconscious, probably because our sense of smell is linked directly to the limbic system, the oldest part of the brain, which is the seat of emotion and memory. Throughout the ages in Western civilization, fragrance has been used to communicate spirituality, passion, and both masculinity and femininity. URI: http://hdl.handle.net/10398/7772 Files in this item: 1
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Ooi, Can-Seng; Stöber, Birgit (, 2008)[More information][Less information]
Abstract: This paper compares the branding strategies of Berlin and Singapore. The respective authorities in these cities are actively marketing, branding and transforming their cities, so that these locations will be perceived as culturally vibrant, technologically advanced and attractive for investors, tourists and creative workers. While Berlin and Singapore share the same goals, they also share similar problems – how can they convince a world that is critical and cynical about the commercial images presented through their place brands? How can they convince the world that their cities are really exciting and truly creative? The arts and culture – both popular and high – are used in place branding to address some of these challenges. This paper also concludes that place branding and its authenticity must be understood in context. The emerging reality of the place means that the brand should also reflect the local entangled social, economic and political issues; the brand, in order to be authentic, should also communicate the commercial and the vision of the place. URI: http://hdl.handle.net/10398/7773 Files in this item: 1
Creative Encounters Working Papers 6.pdf (250.3Kb) -
Ooi, Can-Seng (, 2008)[More information][Less information]
Abstract: Singapore has embarked on an ambitious program to make the city-state into a significant player in the global creative economy. The country is being re-branded as a creative city. The government agrees that in the creative economy, the environment must be conducive to experimentation and innovation. As a result, more social and political spaces have been opened up to spur Singapore’s fledging creative economy and also to signal that the nation has become more transparent and tolerant. The authorities, however, still limit the freedom of public expression on political, ethnic and religious issues. The current state of ethnic-religious harmony and political status quo is to be preserved. Singapore remains a soft-authoritarian state. Can such a country then be branded as a place conducive to creativity and innovation? This paper shows how the Singaporean government: 1) introduces and implements a set of comprehensive policies to develop the creative economy; 2) brands and re-images the city-state as an exciting creative nation; 3) communicates the new creative vision and eventually engineers local acceptance of the creative economy; and 4) promotes the image of an open society and yet maintain tight social and political control. The re-making and re-imaging of Singapore are two sides of the same coin. URI: http://hdl.handle.net/10398/7774 Files in this item: 1
Creative Encounters Working Papers 7.pdf (222.9Kb) -
Lorenzen, Mark (, 2008)[More information][Less information]
Abstract: The paper presents stylized facts about the economic organisation of the film industry, arguing that while we know a lot about production, specialization and internationalization, the complex processes of globalization are still under-researched. The paper concludes with a research agenda of how to address globalization. URI: http://hdl.handle.net/10398/7775 Files in this item: 1
Creative Encounters Working Papers 8.pdf (202.1Kb) -
Christensen, Bo T. (, 2008)[More information][Less information]
Abstract: The in vivo research methodology holds promise to improve some of the limitations of typical design cognition methodologies. Whereas typical design cognition methodology use protocol a nalysis (utilizing special ‘think-aloud’ instructions and/or artificial settings) or retrospective analyses, in vivo research attempts to study design thinking and reasoning ‘live’ or ‘online’ as it takes place in the real world. No special instructions are used since the method relies on natural dialogue taking place between designers. By recording verbalizations at product development meetings (or other suitable objects of study), transcribing, and coding the data, it is possible to test hypotheses about design cognition in the real-world. This promises to improve the ecological validity over typical design cognition studies. Problems with the methodology include labor-intensiveness leading to small samples (possible sampling errors). To deal with this problem, it is recommended to supplement in vivo research with traditional larger sample laboratory studies. URI: http://hdl.handle.net/10398/7776 Files in this item: 1
Creative Encounters Working Papers 9.pdf (215.3Kb) -
Moeran, Brian (, 2008)[More information][Less information]
Abstract: This essay examines embedded structural tensions in the organization of Japanese advertising production. Tensions arise from the fact that an advertising campaign, like many other creative products, is produced by motley crews of personnel from both within an agency contracted to carry out the campaign (an account team) and freelance professionals hired to assist in the creative work required (a production team). The structuring of advertising account teams in Japan, Europe and the USA depends on how accounts are distributed by advertising clients. The amount and kind of creativity displayed by photographers depends on advertising and the structure of fashion magazine publishing. Creativity itself thus depends on an unspoken set of institutional power relations that enables individuals to compete for recognition as being creative . URI: http://hdl.handle.net/10398/7777 Files in this item: 1
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analysed through costume and movement in Crouching Tiger, Hidden DragonSkov, Lise (, 2008)[More information][Less information]
Abstract: In this essay, I wish to examine the relation between body, movement and costume in Chinese martial arts film. I propose to see fight choreography as dance, and I rush to say that this is a totally unoriginal claim on my part; practically any book or commentary on the martial arts genre will use the word dance, either literally or evocatively. There are good reasons for this, as I will discuss below. URI: http://hdl.handle.net/10398/7778 Files in this item: 1
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Moeran, Brian (, 2008)[More information][Less information]
Abstract: This working paper examines the role of international book fairs in the global publishing industry, and in particular their relation to the publishing cycle, chain and field. It outlines some relevant historical features, as well as main functions, of fairs, before describing in detail the daily activities of an independent academic publisher at the Frankfurt Book Fair. Analysis of the book fair takes place at two levels. The first focuses on the importance of visibility in a fair’s timing and location, as well as in the location and size of participants’ stands, inclusion in the fair catalogue, business deals, and social gatherings. The second examines the book fair as a tournament of values, or ritual tournament, in terms of its framing, membership and currency. The argument presented is that the currency of copyright is not dissimilar to a form of gift exchange and that, as a result, a book is both commodity and gift. It is in the shadow of the gift that the commodity of the book is produced, distributed, sold and read. URI: http://hdl.handle.net/10398/7779 Files in this item: 1
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